雙語(yǔ)+MP3|美國(guó)學(xué)生藝術(shù)史51 郵票上的雕像
雙語(yǔ)+MP3|美國(guó)學(xué)生藝術(shù)史51 郵票上的雕像
https://online2.tingclass.net/lesson/shi0529/10000/10122/美國(guó)學(xué)生世界藝術(shù)史-51.mp3
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托瓦森去世時(shí),用大部分遺產(chǎn)在哥本哈斯建立了一家藝術(shù)博物館。他的主要作品都珍藏在這家博物館。雕刻家自己就葬在博物館的庭院里。
51 ON A POSTAGE STAMP郵票上的雕像
WHEN I was a boy I collected postage stamps. Now I’m grown up, but I still have the stamps I collected and I still like to get new ones to put in my album.
If you collect stamps I’m sure you have at least one with a side view, or profile, of George Washington’s head. This side view of Washington’s head was first used on postage stamps in 1851. It has been used on almost every issue of ordinary United States postage stamps since then. Sometimes it has been a three-cent stamp, sometimes a two-cent, and sometimes a one-cent stamp that has had this Washington head on it.
All these profile pictures on stamps were made from a bust of Washington. The bust was made from Washington himself at Mount Vernon. It was made by a sculptor who was an expert at making busts that looked like the real people.
This expert was a Frenchman named Jean Antoine Houdon (Oo-donh). You can tell he was a Frenchman just by seeing his name. Houdon was one of the best sculptors France had had for two hundred years. When he was a boy he studied art in Paris and when he was twenty he won a prize for sculpture. The prize gave him enough money to study art in Italy for four years, so he went to Italy. He liked Italy and stayed there ten years instead of four. Then he came back to France.
Houdon said he believed a sculptor should try to make true likenesses of men who had brought glory and honor to their country so that people would always know what these men looked like. Houdon became just as successful at making portrait statues as the Romans had been. Some people think he was even better than the Romans. The most famous statue Houdon made was of a French writer named Voltaire. Voltaire is shown seated in a chair.
Have you ever wondered why so many statues have eyes without pupils? I knew a boy who went through a picture book of sculpture and with a pen put pupils in the eyes of all the statues. He said he didn’t like statues with blank eyes.
One reason the eyes are blank is because the sculptor tried to make the exact shape of the eyes. As you know, there isn’t any hole in the outside material of a real eyeball and so the sculptor felt it would not be right to make a hole in the statue’s eyeball. If a sculptor wanted to show the iris (the colored part) and the pupil (the black center) he painted them on the eyes or put glass or crystal eyeballs in the statue. Carving the eyes without pupils was good sculpture, but it did make the eyes look blank. Michelangelo very lightly carved a circle and dot on his David’s eyes, but most of his other statues have blank eyes.
Now, Houdon thought, just as you probably do, that a portrait statue ought to have eyes with iris and pupil. So Houdon invented a way of his own for doing this. He made a deep hole for the pupil and made the iris in relief. He also left some of the marble for the white part of the eye a little raised so as to catch the light. Houdon’s scheme worked very well. His portrait busts look very much alive. Some of the busts even seem to have a twinkle in their eyes.
When Benjamin Franklin was in France he had his portrait bust made by Houdon. Franklin liked the bust of himself so much that he asked Houdon to come to the new United States to make a statue of George Washington. It took Houdon and Franklin almost two months to sail from France to America and that was a fast trip in 1785. Some of the side views of Franklin on our postage stamps have been taken from Houdon’s bust of Franklin.
Houdon went to Mount Vernon and stayed with Washington until he had made the bust that the postage stamp is copied from. This bust has never left Mount Vernon and you can still see it when you visit the home of Washington. Then Houdon made a full-length marble statue of Washington which is now in the Capitol at Richmond, Virginia. Here is a picture of it.
No.51 GEORGE WASHINGTON(《喬治·華盛頓》)) HOUDON(烏敦 制)
Courtesy of The U University Prints
Besides busts of Voltaire, Franklin, and Washington, Houdon made busts of John Paul Jones, Thomas Jefferson, Lafayette, and many other people—men, women, and children.
And now, even if you are not a stamp collector, you know more about the portrait on one stamp than many stamp collectors know.
我小時(shí)候就集郵?,F(xiàn)在大了,還保留著以前收集的郵票,而且還喜歡收集新票,以充實(shí)我的郵冊(cè)。
如果你也集郵,相信你至少會(huì)有一張喬治·華盛頓側(cè)面頭像票。華盛頓側(cè)面頭像于1851年首次印在郵票上。從那以后,美國(guó)的普通郵票幾乎每期都發(fā)行華盛頓側(cè)面頭像票。有時(shí)候印在三分郵票上,有時(shí)候印在二分郵票上,有時(shí)候也印在一分郵票上。
郵票上的這些側(cè)面像是根據(jù)華盛頓的一尊半身像繪制而成。這尊半身像刻畫的是芒特弗農(nóng)的華盛頓,作品出自一位擅長(zhǎng)制作半身像的雕刻大師。他雕刻的人物看起來(lái)都栩栩如生。
這位雕刻大師是法國(guó)人,名叫讓·安東尼·烏敦。一看他名字,就知道他是法國(guó)人。烏敦是過(guò)去兩百年來(lái)法國(guó)最優(yōu)秀的雕刻家之一。烏敦小時(shí)候,在巴黎學(xué)習(xí)藝術(shù)。到20歲時(shí)就獲得雕刻大獎(jiǎng)。這個(gè)大獎(jiǎng)使他有足夠的錢到意大利進(jìn)行為期四年的學(xué)習(xí),于是他便動(dòng)身去了意大利。烏敦非常喜歡意大利。四年學(xué)習(xí)期滿后,他并沒(méi)有立刻回國(guó),而是在意大利生活了十年,后來(lái)才返回法國(guó)。
烏敦認(rèn)為,雕刻家應(yīng)當(dāng)竭盡全力將那些為自己國(guó)家?guī)?lái)榮譽(yù)的人惟妙惟肖地雕刻出來(lái),使普通大眾了解他們的長(zhǎng)相。在雕刻半身像方面,烏敦做得與古羅馬人一樣成功。有人甚至認(rèn)為他做得比羅馬人還要好。烏敦最著名的雕像要數(shù)他為一個(gè)法國(guó)作家——伏爾泰刻的雕像。雕像伏爾泰坐在一把椅子上。
有沒(méi)有疑惑為什么這么多雕像的眼睛沒(méi)有瞳孔呢?我認(rèn)識(shí)一個(gè)孩子,他在瀏覽一本有關(guān)雕像的圖畫書時(shí),用鉛筆給圖畫書上所有的雕像畫了瞳孔。他說(shuō)他不喜歡這些雕像都眼神空洞。
雕刻家們讓雕像沒(méi)瞳孔,是因?yàn)樗麄兿刖珳?zhǔn)地刻畫眼睛的形狀。眾所周知,人的眼球上并沒(méi)有孔,所以雕刻家們覺(jué)得在雕像的眼球上弄個(gè)洞并不適合。如果一個(gè)雕刻家想要展示虹膜(彩色部分)和瞳孔(黑色部分)的話,他會(huì)在眼睛上畫虹膜和瞳孔,或者在雕像上放一個(gè)玻璃或水晶眼球。眼睛里沒(méi)有瞳孔的確沒(méi)錯(cuò),不過(guò)這卻使雕像的眼睛看起來(lái)空洞無(wú)神。米開(kāi)朗基羅在雕刻《大衛(wèi)》時(shí),在大衛(wèi)的眼睛上刻了一個(gè)圓圈和一個(gè)點(diǎn),但他的其他的雕像作品幾乎都是沒(méi)有瞳孔的。
烏敦的想法可能和你一樣,覺(jué)得半身像的眼睛里應(yīng)該有虹膜和瞳孔。為此,烏敦發(fā)明了一種新的雕刻方法。他將瞳孔雕刻成一個(gè)深洞,而將虹膜做成浮雕。他還將用大理石雕刻的眼睛白膜稍稍抬高點(diǎn),使眼睛接收到光線。烏敦的方法非常奏效,他雕刻的半身像看起來(lái)簡(jiǎn)直活靈活現(xiàn)。有些半身像看起來(lái)甚至在向我們眨眼睛呢!
本杰明·富蘭克林在法國(guó)期間,烏敦為他雕刻了一尊半身像。富蘭克林十分喜歡這尊半身像,于是邀請(qǐng)烏敦去新美國(guó),為喬治·華盛頓雕像。經(jīng)過(guò)兩個(gè)月的航行,烏敦和富蘭克林終于到達(dá)美國(guó)。在當(dāng)時(shí)來(lái)說(shuō)(1785年),這已經(jīng)算是很快了。我們郵票上的一些富蘭克林的側(cè)面像就是根據(jù)烏敦為他雕刻的半身像繪制的。
烏敦去了芒特弗農(nóng)后一直同華盛頓待在一起,直到半身像完成。后來(lái)美國(guó)郵票上華盛頓的側(cè)面像就是根據(jù)這尊半身像復(fù)制而來(lái)的。華盛頓的這尊像一直存放在芒特弗農(nóng)。如果去華盛頓故鄉(xiāng)參觀,就還能看到這尊雕像。后來(lái),烏敦又用大理石為華盛頓雕了一尊全身像,如今這尊全身像收藏在弗吉尼亞州里士滿市的國(guó)會(huì)大廈。見(jiàn)下圖。
烏敦除了為伏爾泰、富蘭克林和華盛頓制作過(guò)半身像外,還替約翰·保羅·瓊斯、托馬斯·杰斐遜、拉斐特以及其他許多人,包括男女老少,都刻過(guò)半身像。
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